Photography News

In Photos: Valentine Love From the Early 20th Century

2012-02-14T18:59:00.000+02:00

February 14, 2012 /Photography News/ A collection of photographs from the beginning of the 20th century:

Zulu couple, 1903. (via Okinawa Soba)

Musical stars Madge Elliott and Cyril Ritchard's wedding, St Mary's Cathedral, Sydney, 1935. Photograph by Sam Hood. From the collections of the Mitchell Library, State Library of New South Wales.

Young couple chalking hearts onto a tree. Valentine's Day, 1944. The Galt Museum & Archives

Pair of young Shrikes or Butcher-birds. Photographer/Studio: Finley, William Lovell (1876-1953); Bohlman, Herman T. 1900-1909. Photos were used in the 1908 "American Birds" book by William Lovell Finley.The Oregon State University.

The kiss

Young couple seated in garden, circa 1900. Phillips Glass Plate Negative Collection, Powerhouse Museum. Gift of the Estate of Raymond W Phillips, 2008.

"When the frost is on the punkin and the fodder in the shock" (LOC). New-York tribune. (New York [N.Y.]) 1866-1924. October 9, 1904, Image 29. Cover, illustrated supplement. Library of Congress, Serial and Government Publications Division, Washington, D.C.

Margaret Ballardini & Fred Watson, Luna Park, St Kilda, Victoria, ca. 1927. Photographed by M D True, Electric Studio.

Soldier's goodbye & Bobbie the cat, ca. 1939-ca. 1945 / by Sam Hood. The State Library of New South Wales.

The kiss. (via John Robinson)

"L'Amore Medico" -- Pini Corsi and Bori (LOC). Between ca. 1910 and ca. 1915. Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).


Sydney, NSW. 1919. A wounded AIF soldier receives an affectionate welcome home at the Anzac Buffet in The Domain. This photograph is from the Australian War Memorial's collection.

Masters of Underwater Photography - Call For Entries

2012-02-12T11:43:00.001+02:00

Photo: Lee Peterson

February 12, 2012 /Photography News/ Oceanside Museum of Art (OMA) invites underwater photography artists to submit their work for review for the upcoming exhibition Liquid Capture: Masters of Underwater Photography on view at OMA April 28 through June 17, 2012 with an Exhibition Reception and Panel Discussion on May 5.

Organized by renowned photographer Lee Peterson, Liquid Capture: Masters of Underwater Photography is a juried exhibition presenting the best underwater photographic art from around the world.

Eligibility:

The Liquid Capture competition is open to entrants of all skill levels. Entries may have been taken from any camera, film or digital.

Categories:

Ocean Environment Underwater
Macro
Diver
Ocean Environment Above Water
Marine Mammals

An optional category is Submersion, a creative look at diving.

Prizes:

Prizes include a Nikon and a Cannon underwater digital camera sponsored by Oceanside Photo and Telescope, an Aqua Lung Titan LX Regulator, a $500 Gift Certificate good towards the purchase of a housing of your choice from Nauticam US, and image enhancement software from Topaz Labs. Best of Show will receive complementary face mounted printing. All selected photographs will be published in the exhibition catalogue being created by Digital One and artists will receive an exhibition certificate from Oceanside Museum of Art.

There will be 3 winners per category; the 25 winning pieces will be in the exhibition as well as 25 additional pieces selected by the jurors. Following this exhibition, the top 25 images will be available to tour other museums.

Submission deadline:

All artwork must be submitted by March 4, 2012. Artists will be informed by March 19, 2012 if their work is selected. If selected they will need to submit a high resolution image by March 23, 2012.

Entry fee:

Admission fee is a flat $25 for up to three submissions, additional images are $20.

Website: Liquid Capture: Masters of Underwater Photography

Arab Spring Portrait Wins World Press Photo of the Year Award, List of Winners

2012-02-10T15:15:00.000+02:00

February 10, 2012 /Photography News/ The international jury of the 55th annual World Press Photo Contest announced today that it had selected a picture by Samuel Aranda as the World Press Photo of the Year 2011.

The winning picture --selected from 101,254 images submitted by 5,247 photographers from 124 countries-- shows a woman holding a wounded relative in her arms, inside a mosque used as a field hospital by demonstrators against the rule of President Ali Abdullah Saleh, during clashes in Sanaa, Yemen on 15 October 2011. Samuel Aranda was working in Yemen on assignment for The New York Times. He is represented by Corbis Images.

Samuel Aranda, the photographer of the World Press Photo of the Year 2011, will receive the award during the Awards Ceremony in Amsterdam on Saturday, 21 April 2012. The award also carries a cash prize of €10,000. In addition, Canon will donate a Canon EOS Digital SLR Camera and lens kit to Aranda.

The Awards Ceremony is preceded by a two-day program of lectures, discussions and screenings of photography. The exhibition with the award-winning images will be open to the public at the Oude Kerk, Oudekerksplein in Amsterdam on Friday, 20 April 2012. The exhibition in Amsterdam is sponsored by Delta Lloyd and will be on show until 17 June.

At the same, time a worldwide tour of the exhibition will be launched. With a record number of 105 venues in 45 countries for the World Press Photo 11 exhibition last year, our exhibition program has established itself as the most popular and wide-ranging traveling photo event in the world. With the yearbook distributed internationally in seven languages, the winning images will reach a worldwide audience of millions in the course of the year.

The jury gave prizes in nine themed categories to 57 photographers of 24 nationalities from: Afghanistan, Argentina, Australia, Bosnia and Herzegovina, Canada, China, Denmark, France, Germany, India, Iran, Ireland, Italy, Japan, Mexico, the Netherlands, Norway, Poland, Russia, South Africa, Spain, Sweden, the United Kingdom and the USA.

LIST OF THE 2011 WORLD PRESS PHOTO WINNERS:

Photo of the year, 2011: Samuel Aranda, Spain, for The New York Times, A woman holds a wounded relative during protests against president Saleh, Sanaa, Yemen, Oct. 15.

Spot news singles:

1. Yuri Kozyrev, Russia, Noor Images for Time, Rebels in Ras Lanuf, Libya, March 11

2. Massoud Hossaini, Afghanistan, Agence France-Presse, Explosion during religious ceremony, Kabul, Afghanistan, Dec. 5

3. Li Yang, China, for China Daily, Rescue of a girl attempting suicide, Changchun, Jilin province, China, May 17

Honorable mention: Salil Bera, India, The Week, A leopard attacks, Mahananda Wildlife Sanctuary, India

Spot news stories:

1. Koichiro Tezuka, Japan, Mainichi Shimbun, Tsunami strikes Natori City, Japan, March 11

2. Niclas Hammerstrom, Sweden, for Aftonbladet, Utoya, Norway, July 22

3. Eduardo Castaldo, Italy, Dawn of a revolution, Cairo, Egypt, January-February

General news singles:

1. Alex Majoli, Italy, Magnum Photos for Newsweek, Protestors at Tahrir Square react to president Mubarak's announcement not to step down, Cairo, Egypt, Feb. 10

2. Lars Lindqvist, Sweden, Dagens Nyheter, On the pier of Ishinomaki port, Japan, April 15

3. Toshiyuki Tsunenari, Japan, Asahi Shimbun, Woman cries amid the ruins of Natori City, Japan, March 13

General news stories:

1. Remi Ochlik, France, IP3 Press, Battle for Libya

2. Paolo Pellegrina, Italy, Magnum Photos for Zeit Magazine, Tsunami aftermath, Japan, April

3. David Guttenfelder, USA, The Associated Press for National Geographic magazine, Japan's nuclear refugees, April-November

People in the news singles:

1. Samuel Aranda, Spain, for The New York Times, A woman holds a wounded relative during protests against president Saleh, Sanaa, Yemen, Oct. 15

2. Tomasz Lazar, Poland, Arrest of protesters in Harlem, New York City, during a demonstration against police tactics and income inequality. New York, USA, Oct. 25

3. Mohammed al-Law, Egypt, The Associated Press, Former Egyptian president Mubarak arrives for his trial, Cairo, Egypt, Sept. 7

People in the news stories:

1. Yasuyoshi Chiba, Japan, Agence France-Presse, Aftermath of the tsunami, Japan, March-April

2. John Moore, USA, Getty Images, Evicted, Colorado, USA

3. Jan Dago, Denmark, Jyllands-Posten, The fight for Tahrir Square, Cairo, Feb. 1-6

Sports singles:

1. Donald Miralle, Jr., USA, Mass swim start at the Ironman World Championships, Kailua Bay, Hawaii, USA

2. Ray McManus, Ireland, Sportsfile, Scrum half, Old Belvedere vs. Blackrock, Dublin, Ireland

3. Henrik Brunnsgård, Sweden, Base jumper Johannes Dagemark takes off of a wind turbine, Skara, Sweden

Sports stories:

1. Alexander Taran, Russia, 'Strelka,' street fighting tournament, St. Petersburg, Russia

2. Adam Pretty, Australia, Getty Images, World Swimming Championships, Shanghai, China

3. Tomasz Gudzowaty, Poland, Yours Gallery/Agentur Focus, Lucha libre at La Loba, Mexico City

Contemporary issues singles:

1. Brent Stirton, South Africa, Reportage by Getty Images for Kiev Independent, Maria, a drug addict and sex worker, Kryvyi Rig, Ukraine

2. Ilvy Njiokiktjien, The Netherlands, 'Kolonel' Jooste trains white Afrikaners at a youth camp, Carolina, South Africa

3. Simona Ghizzoni, Italy, Contrasto, Jamila, 40, injured during Operation Cast Lead, Gaza Strip

Honorable mention. Shaofeng Xu, China, ChuTian Metropolis Daily, Man climbs up a high voltage electricity tower, Chengdu, Sichuan Province, China, Nov. 22

Contemporary issues stories:

1. Stephanie Sinclair, USA, VII Photo Agency for National Geographic magazine, Child brides: Too young to wed

2. Ebrahim Noroozi, Iran, Jamejam Online, Public executions by hanging, Iran

3. Perdo Pardo, Mexico, Agence France-Presse, Drug cartel wars, Acapulco, Mexico

Daily life singles:

1. Damir Sagolj, Bosnia, Reuters, Picture of North Korea's founder Kim Il-Sung on a wall in Pyongyang, Oct. 5

2. Johnny Haglund, Norway, Vi Menn, Girls catch fish in the Congo river

3. Paolo Woods, The Netherlands, Radio presenter sister Melianise Gabreus, Les Cayes, Haiti

Daily life stories:

1. Alejandro Kirchuk, Argentina, Never Let You Go

2. Pietro Paolini, Italy, TerraProject, Bolivianas

3. Alexander Gronsky, Russia, Photographer.ru, Pastoral, Moscow; Honorable mention. Darcy Padilla, US, Redux Pictures, Jason & Elyssa, 2011

Portraits singles:

1. Laerke Posselt, Denmark, Iranian-born Danish actress Mellica Mehraban

2. Guillaume Herbaut, France, Institute for Artist Management for Stiletto, Femen activist Inna Shevchenko, Ukraine

3. Denis Rouvre, France, Toku Konno, tsunami survivor, Sendai, Japan

Portraits stories:

1. Donald Weber, Canada, VII Photo Agency, Interrogation room, Ukraine

2. Ton Koene, The Netherlands, Recruits at police training center, Kunduz, Afghanistan

3. Simon Norfolk and John Burke, Britain, Burke + Norfolk, Afghanistan, 19th and 21st century

Arts and entertainment singles:

1. David Goldman, USA, The Associated Press, Cpl. Ben Vandandaigue plays the drums at a Canadian base, Kandahar, Afghanistan.

2. Vincent Boisot, France, Riva Press for Le Figaro Magazine, Dakar fashion week, model poses in Yolande Mancini's design, Senegal

3. Pavel Prokopchik, The Netherlands, Local shaman performs ritual, Ungurtas, Kazakhstan

Arts and entertainment stories:

1. Rob Hornstra, The Netherlands, The Sochi Project: Sochi Singers

2. Emiliano Larizza, Italy, Contrasto, Saut-d'Eau Pilgrimage, Haiti

3. Huimin Kuang, China, Huang Jianglu newspaper, The Return of the Native, Mao Zedong remembered

Nature singles:

1. Jenny E. Ross, USA, Polar bear attempts to feed on sea birds' eggs, Novaya Zemlya, Russia

2. Joan Costa, Spain, for Malaspina Expedition, Specimen of a heteropoda, Pacific Ocean

3. Francesco Zizola, Italy, Noor Images, Tuna fish in the Tonnara, off Carloforte Island, Sardinia, Italy

Nature stories:

1. Brent Stirton, South Africa, Reportage by Getty Images for National Geographic magazine, Rhino wars

2. Carsten Peter, Germany, National Geographic magazine, Hang Ken, infinite cave, Vietnam

3. Paul Hilton, Britain, EPA for Pew, Shark fin

Remembering Snowflake Photographer Wilson Bentley

2012-02-09T12:35:00.000+02:00

February 9, 2012 /Photography News/ Born 147 years ago, on 9 February 1865, Wilson Bentley was one of the first known photographers of snowflakes. He perfected a process of catching flakes on black velvet in such a way that their images could be captured before they either melted or sublimed.

Bentley first became fascinated with snow during his childhood on a Vermont farm, and he experimented for years with ways to view individual snowflakes in order to study their crystalline structure. He eventually attached a camera to his microscope, and in 1885 he successfully photographed the snowflakes. More than five thousand of his snowflake photomicrographs supported the belief that no two snowflakes are alike, leading scientists to study his work and publish it in numerous scientific articles and magazines.

Bentley also photographed all forms of ice and natural water formations including clouds and fog. He was the first American to record raindrop sizes and was one of the first cloud physicists.

He died of pneumonia on December 23, 1931, after walking six miles in a blizzard so he could photograph more snowflakes.

Snowflake photos by Wilson Bentley, circa 1902

National Geographic Traveller Photo Contest Winner Announced

2012-02-08T16:58:00.000+02:00

February 8, 2012 /Photography News/ National Geographic Traveller (UK) has announced the winners of its Travel Photography 2012 Competition.

Joanna Harper’s ‘The Boy who likes to Swim’ pipped all the other contenders to become the grand-prize winner. “The decision was based not only on the fact it captures a beautifully intimate moment, but also because it’s technically fantastic,” said National Geographic Traveller’s art editor, Chris Hudson.

Not only does Harper appear in the Photography Competition supplement, she has also won a once-in-lifetime trip to see the Northern Lights in Finland with The Aurora Zone and a top of the range camera and kit, courtesy of Tesco.

Six-runners up (category winners) have also been selected and will receive a Nikon S6100 Red Camera, courtesy of Tesco:

People: Sanjay Gupta from Hull and his image of a Maasai tribesman.
Culture: Andrew Cheek from Hatfield and the Shwezigo Pagoda, Burma.
Nature: Jesus del Toro Garcia from London and his shot of two horses in Essaouira, Morocco.
Landscapes: Martyn Ferry from Oxfordshire and his shot of Manarola in La Spezia, Italy.
Adventure: Samantha Crimmin from East Sussex and the star trails above South Georgia.
City: Nick Board from Reading and his photo of Ho Chi Minh City.

The judging panel consisted of Carol Enquist, National Geographic’s photo editor; Jonathan Briggs, editor of the British Institute of Professional Photography’s (BIPP) The Photographer magazine; Marina Syrmakezi from The Association of Photographers; and Chris Hudson, National Geographic Traveller’s art editor.

Chris Hudson said: “We’d like to thank everyone for their support in our inaugural National Geographic Traveller photography competition, we have been impressed at the incredibly high standard of submissions, whether professional or amateur – and we think Joanna Harper is a truly worthy winner.”

To see the winners and the shortlist, visit http://photos.natgeotraveller.co.uk

$100,000 Future Generation Art Prize Call For Entries

2012-02-08T13:07:00.000+02:00

Februaty 8, 2012 /Photography News/ The Future Generation Art Prize established by the Victor Pinchuk Foundation is a worldwide contemporary art prize to discover, recognize and give long-term support to a future generation of artists. The Prize will be a major contribution to the open participation of younger artists in the dynamic cultural development of societies in global transition.

Eligibility:

All artists up to 35 may apply with their work without any restrictions concerning gender, nationality, race or artistic medium.

Prizes:

The main prize will be awarded to one artist who will receive the amount of US$ 100,000 from the international jury in the context of an exhibition. The prize will be split in US$ 60,000 in cash and US$ 40,000 for the investment of new work production.

Within the framework of selecting the main prize winner, the jury will have the opportunity to additionally award up to five special prizes to support young talents. The special prizes will not be bound to a financial award but rather serve above all to support the further development of the artists in form of residences in different art contexts. Up to US$ 20,000 can be divided for about five special prizes.

A selection committee will review the applications and select up to twenty artists for an exhibition at the PinchukArtCentre.

Deadline: 6 May 2012

Shortlist announcement: June 2012

Exhibition of the shortlisted artists: October 2012 - January 2013

Future Generation Art Prize Award Ceremony: December 2012

Website: http://www.futuregenerationartprize.org/

Remembering Julius Neubronner, Inventor of Pigeon Camera

2012-02-08T10:54:00.000+02:00

February 8, 2012 /Photography News/ Born 160 years ago, on 8 February 1852, Julius Neubronner was a German apothecary, inventor, company founder, and a pioneer of amateur photography and film, best known for inventing the pigeon camera for aerial photography. The invention brought him international notability, the method being used for military air surveillance in the First World War and later.

Julius Neubronner with pigeon and camera, 1914

Julius Neubronner's patented Pigeon camera with two lenses, with cuirass and harness

Technical drawing explaining Julius Neubronner's panorama camera

Sectional view and pneumatic system of Julius Neubronner's patented pigeon camera with two lenses

Detailed sketches of breast-mounted carrier pigeon camera with two lenses

Canon Launches Three New Lenses

2012-02-07T19:10:00.001+02:00

February 7, 2012 /Photography News/ Canon today adds to its world-famous EF lens series with the launch of three new lenses for photography professionals and enthusiasts. The new EF 24-70mm f/2.8L II USM professional zoom lens is an update to the popular EF 24-70mm f/2.8L USM, while the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM are --according to Canon research as of February 2012-- the world’s first wide-angle prime lenses to feature optical Image Stabilizer (IS) technology. All three provide the highest levels of performance for modern digital photographers, combining premium image quality with durable, user-friendly designs.

EF 24-70mm f/2.8L II USM EF 24mm f/2.8 IS USM EF 28mm f/2.8 IS USM

EF 24-70mm f/2.8L II USM: the ultra-high performance standard zoom

The new EF 24-70mm f/2.8L II USM features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.

With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimise chromatic aberration and colour blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon’s optimised Super Spectra coatings to reduce ghosting and flare and ensure excellent colour balance. Additionally, a fluorine coating minimises the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.

The EF 24-70mm f/2.8L II USM also enables photographers to capture their subjects up close, with a minimum focusing distance of 0.38m at all focal lengths throughout the zoom range. A ring-type Ultrasonic Motor (USM) works in combination with a high-performance CPU and advanced AF algorithms to ensure accurate, silent and ultra-responsive autofocus. For those who prefer to maintain full control in every shot, full-time manual focusing allows photographers to precisely tweak or alter the focus of their shot at any time, even when AF is engaged.

Distinguished L-series design

The EF 24-70mm f/2.8L II USM is the latest lens from the elite L-series to offer Canon’s high-grade and user-focused design enhancements. The mechanical structure of the lens has been improved to offer enhanced zoom durability and greater shake and shock resistance within the lens barrel. The size of the lens has also been reduced by 10mm compared to the previous model, providing enhanced portability and greater convenience in everyday use. A new Zoom Lock lever also enables photographers to lock the zoom position at the extreme wide end to prevent damage to the lens in transit, while a water and dustproof construction² enables users to continue shooting in harsh conditions.

Introducing the world’s first wide-angle primes with IS

Canon today also launches the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM – the world’s first 24mm and 28mm fixed wide-angle lenses to feature optical IS technology. Ideal for landscape and reportage, both lenses offer outstanding flexibility allowing photographers to shoot an even broader range of scenes and subjects – combining fast apertures with IS to enable sharp results when shooting handheld, even in low light conditions.

Offering an advantage of up to 4-stops over lenses without IS, both lenses are ideal for capturing more of the scene thanks to their wider focal lengths. Both feature a wide f/2.8 aperture, allowing photographers to explore shallow depth of field, or to shoot in lower-light conditions. Wide apertures and IS technology also make each lens ideal for shooting fast-moving subjects, while Canon’s advanced IS technology is able to detect intentional panning movement and automatically switch from Normal IS mode to Panning IS mode – helping users to capture movement with greater accuracy.

Silent, high-speed AF performance is provided by the inclusion of a ring-type USM and additional features including optimized AF control. Full-time manual focusing also ensures adjustments can be made even when AF is engaged, while a minimum focusing distance of 0.20m (EF 24mm f/2.8 IS USM) and 0.23m (EF 28mm f/2.8 IS USM) allows photographers to get even closer to smaller or more detailed subjects.

Designed to perform

Both the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM feature redesigned optics to improve image quality and reduce the need for post-production. An aspherical glass moulded (GMo) lens element is incorporated to correct aberration throughout the optical system, while Canon’s optimised Super Spectra Coatings reduce ghosting and flare for stand-out image quality. Externally, both models also boast a number of design similarities with Canon’s professional L-series lenses, with a similar coating on the barrel and a similar design on the focus ring. A distance scale is also included to assist with landscape photography, while the compact design makes these lenses an unobtrusive addition to any kit bag.

EF 24-70mm f/2.8L II USM – key features

    • All-new optical design delivers exceptional sharpness
    • Ultra-low dispersion (UD) and super UD elements
    • Fast f/2.8 maximum aperture
    • Sealed against dust and moisture
    • Fast, silent ultrasonic autofocus
    • Manual focus override
    • Nine-bladed circular aperture

EF 24mm f/2.8 IS USM – key features

    • 24mm wide angle lens (38mm equivalent on APS-C sized sensors)
    • Fast f/2.8 maximum aperture
    • Up to four-stop Image Stabilizer
    • Ultrasonic autofocus mechanism
    • Circular aperture for soft background blur
    • Super Spectra coatings reduce flare

EF 28mm f/2.8 IS USM – key features

    • 28mm wide-angle lens (45mm equivalent on APS-C sized sensors)
    • Fast f/2.8 maximum aperture
    • Up to four-stop Image Stabilizer
    • Ultrasonic autofocus mechanism
    • Circular aperture for soft background blur
    • Super Spectra coatings reduce flare

Nikon Announces the D800/D800E DSLRs

2012-02-07T18:39:00.001+02:00

February 7, 2012 /Photography News/ Nikon Corporation today announced the release of the Nikon D800 FX-format digital SLR camera. The D800 offers the world's highest* effective pixel count of 36.3-million pixels, and is equipped with the new EXPEED 3 image-processing engine and a 91K-pixel (approximately 91,000 pixels) RGB sensor for overwhelming definition and image quality. Nikon will be exhibiting the D800 at the CP+ CAMERA & PHOTO IMAGIING SHOW, to be held Thursday, February 9 through Sunday, February 12 in Yokohama, Japan. This exhibition is open to the public.

*Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012

Nikon also released the D800E, a model that offers increased resolution for images with more dimension.

D800 Primary Features

New Nikon FX-format CMOS image sensor The D800 is equipped with a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine for Nikon digital SLR cameras. This new image-processing engine is faster and offers greater performance. The camera also offers an effective pixel count of 36.3-million pixels. When combined with the sharp rendering of NIKKOR lenses, images exhibiting resolution equal to that achieved with medium-format digital cameras are possible.
The D800 also responds to the demands of professional photographers with a standard sensitivity range of ISO 100–6400, and additional support for equivalents of ISO 50 (Lo 1) and up to ISO 25600 (Hi 2), for superior image and picture quality in dimly lit situations, such as just before sunrise and just after sunset, with shooting of still images as well as movie recording.
New 91K-pixel RGB sensor for the more accurate Advanced Scene Recognition System The D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor. When a human face is detected in the frame, 3D Color Matrix Metering III bases exposure control on the brightness of that face so that the face is optimally exposed even with backlighting. In addition, the superior resolution of the metering sensor, which makes full use of an incredible 91,000 pixels, enables extremely precise analysis of the scene for more accurate control over autofocusing, auto exposure, i-TTL flash control, and auto white balance.
Multi-area mode Full HD D-Movie for movie recording using one of two movie formats The D800 records movies exhibiting superior resolution with optimal processing of information acquired from the 36.3-million pixel image sensor. Recording of 1920 x 1080p/30-fps full-HD movies is supported, and users can choose to record using the FX-based movie format or the DX-based movie format according to recording conditions. The FX-based movie format offers a shallow depth-of-field with an emphasis on blur characteristics while the DX-based movie format enables recording of movies that bring subjects closer when lenses with short focal lengths are used. The D800 is also equipped with a headphone jack and supports precise adjustment of microphone sensitivity. In addition, it supports simultaneous display of movies or the movie live view display in the camera monitor and on an external monitor. Further, the D800 responds to the needs of professionals who require uncompressed movie files with the ability to record movies directly to an external HDMI recorder in movie live view mode. The D800 also offers a time-lapse photography function that captures images at a selected interval and then combines the images to create a time-lapse movie that shows the changes in a particular scene that occur over time.
Viewfinder frame coverage of approximately 100%*¹ and a lightweight and durable water- and dust-resistant body The viewfinder built into the D800 supports a frame coverage of approximately 100%*¹ and magnification of approximately 0.7x*². Adoption of a magnesium alloy for the body gives the camera the same level of durability as the D700 with a weight approximately 10% less.
*1With FX-format image area
*2With 50-mm f/1.4 lens at infinity, -1.0 m^-1
Support for high-speed continuous shooting and a variety of battery types with the Multi-Power Battery Pack MB-D12 (optional) The MB-D12 supports the Rechargeable Li-ion Batteries EN-EL15 and EN-EL18, common AA batteries, and the AC Adapter EH-5a/b (with Power Connector EP-5B). When the MB-D12 is mounted on the D800, high-speed continuous shooting at approximately 6 fps* using the DX-format image area is possible. The MB-D12 also offers the added convenience of controls, including shutter-release button, AF-ON button and multi-selector, for vertical shooting. What's more, the same seals as those used for the D800 with its magnesium body offer superior resistance to dust and water.
*When powered by the AC adapter, or AA batteries or Rechargeable Li-ion Battery EN-EL18 with the MB-D12. Measured according to CIPA guidelines.
Other D800 Functions and Features
- A 51-point AF system for improved subject acquisition and focus performance under dim lighting. In addition, 11 focus points (five at center with an addition three to each side) are fully functional when lenses with a maximum aperture of f/8 are used.
- A 3.2-inch, approximately 921k-dot LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle
- A virtual horizon that shows the degree to which the camera is tilted sideways (roll), or forward or backward (pitch) with display in the monitor and viewfinder
- A new shutter unit that has passed testing for 200,000 cycles and supports a maximum shutter speed of 1/8000 s and flash sync speed of 1/250 s
- Continuous shooting at 4 (FX-format/5 : 4 image area) or 5 (DX-format/1.2x image area) fps* (*When powered by a Rechargeable Li-ion Battery EN-EL15)
- CompactFlash and SD dual memory card slots
- Support for SuperSpeed USB (USB 3.0)

The D800E with specifications for even greater resolution with an effective pixel count of 36.3-million pixels

In-camera disabling of the aliasing and moiré pattern reduction operation performed by the optical low-pass filter built into the D800E allows light passing through a NIKKOR lens to strike photodiodes directly for even greater resolution. This makes this model optimal for landscape and artistic photography with which higher resolution and clear definition is demanded. With the exception of the modification indicated above, all other functions and characteristics are the same as with the D800.

Aliasing and moiré patterns may be more noticeable in images captured with the D800E with some subjects, scenes or shooting conditions.
Optical low-pass filter IR coating and anti-reflection coating performance is the same with both the D800 and the D800E.

Venezuela: Photos of Armed Children Spark Controversy

2012-02-04T13:23:00.000+02:00

Image via Eduardo Ponte @acaballoregalao on yfrog

February 4, 2012 /Photography News/ Seated beneath a mural of Jesus Christ holding a gun, children aged 3 to 7, covering their faces with political bandanas display assault rifles as adults proudly stand beside them. These pictures were posted on Facebook and Twitter by a radical political group based in a working class neighbourhood of the Venezuelan capital.

The group in question, the La Piedrita Collective, controls the 23 de Enero parish in Caracas, a neighbourhood that has been a leftwing stronghold for decades and is where Venezuela President Hugo Chávez - whom the collective claims to support - casts his vote during elections.

Hugo Chávez, who has a reputation for courting controversy, drew the line this week and condemned the widely circulated photos, calling the members of La Piedrita irresponsible.

After the scandal erupted, some of the women who appear in the photographs with the armed children released a video filmed in a classroom with the young pupils holding up books on Venezuelan history and the country’s constitution, in which they state, 'These are the weapons we give to our children.'

In a country where homicide rates have drawn comparison to war zones, the photos have sparked heated debate over Venezuela's fractured politics and the role of the self-proclaimed "revolutionary" government in encouraging an armed civilian defense force, which officials have said total as many as 150,000 strong. The photos were also a start-off point for a march organized by the same collective, La Piedrita, through which they demanded respect for the children in the photographs.

The Most Amazing High Definition Image of Earth - Blue Marble 2012

2012-02-04T09:41:00.000+02:00

February 4, 2012 /Photography News/ Responding to public demand, NASA just released a 'Blue Marble' image of the Earth taken from the VIIRS instrument aboard NASA's most recently launched Earth-observing satellite - Suomi NPP.

The new image is a composite of six separate orbits taken on January 23, 2012 by the Suomi National Polar-orbiting Partnership satellite. Both of these new 'Blue Marble' images are images taken by a new instrument flying aboard Suomi NPP, the Visible Infrared Imaging Radiometer Suite (VIIRS).

Compiled by NASA Goddard scientist Norman Kuring, this image has the perspective of a viewer looking down from 7,918 miles (about 12,742 kilometers) above the Earth's surface from a viewpoint of 10 degrees South by 45 degrees East. The four vertical lines of 'haze' visible in this image shows the reflection of sunlight off the ocean, or 'glint,' that VIIRS captured as it orbited the globe. Suomi NPP is the result of a partnership between NASA, NOAA and the Department of Defense.

beyondmemory Photography and Video Competition - Call for Entries

2012-02-03T13:37:00.000+02:00

February 3, 2012 /Photography News/ beyondmemory is an open call for works which invites artists to reflect on contemporary photography and video’s role in perceiving history and collective memory.

Theme:

Memory has been for centuries a community’s natural repository of symbolic and mythical meaning; a combination of true stories and fantastical representations, which mixed, history with poetry, reality with art, artistic conjecture with collective unconscious, the universal with the singular. With the end of dogmas and grand ideological narratives, memory is no longer a producer of myths, rather it survives as the basis for a search of truth, taking up the role of instrument of knowledge, of historical production and verification of information. The idea that memory is repository of a single, absolute truth, has been replaced in our information age by the notion of many memories: micro-truths without universal authenticity which act on the knowledge and production of history. In particular, according to Michel Foucault’s view, photography has given birth to the idea of archive as a repository of memory and a fundamental building-block of the present.

Works submitted to Beyond Memory can contain images as clues for paradigms, textual elements, photographic installations with archive material, sound fragments, the use of photographs which are simply found or tell a common story, are some of the forms adopted by contemporary photography to give images various levels of significance to history and collective memory.

Eligibility:

Artists from anywhere in the world can participate without limits of age, sex or profession.

Each project can contain up to a maximum of 10 works – photographs and/or videos – supported by a textual statement.

Prizes:

First prize: 1,000 €
Second prize: 500 €
Third prize: 500 €

A shortlist of 10 selected projects made by a Selection Committee which includes Giovanna Calvenzi, Daniele De Luigi and George Tatge will be announced on 31 March 2012. The 10 selected projects will be exhibited in the fmsgallery of the Fondazione Studio Marangoni in Florence, Italy.

A catalogue containing images of all selected works, as well as brief artists’ bios, and critical texts with be published.

Copyright:

Artists retain copyright of all works and texts they upload, but give Celeste Network the right to use them for communication and promotion purposes only: to create the prize catalogue or other promotional material associated with the prize, and in Celeste's websites.

Deadline:

Projects can be presented directly online no later than midnight 29 February 2012.

For more details visit http://www.celesteprize.com/beyondmemory/

The New PENTAX K-01 Camera

2012-02-03T13:18:00.000+02:00

February 3, 2012 /Photography News/ PENTAX RICOH IMAGING AMERICAS CORPORATION introduces the Marc Newson designed PENTAX K-01* interchangeable lens camera (ILC). The new PENTAX K-01 is another bold effort from the manufacturer that is known for pushing camera size, color, durability, and now, design, to the limit. Widely known for designing a wide range of objects from furniture and household products to bicycles, cars, aircraft and yachts, Marc Newson has had collected works displayed in The Museum of Modern Art (MoMA) in New York City and many other major museums.
*prounouced kay zero one

The contemporary, timeless K-01 houses a full array of advanced functions and user-friendly features in a camera body with remarkable form and function. The elimination of an optical viewfinder and quick-return mirror gave Newson more freedom in designing the camera body, and the K-01 showcases Newson originality in every detail. Available in black, white and Newson’s signature yellow colors, the K-01 features the designer’s autograph logo stamp on the bottom of each camera.

The famed designer’s touch also is evident in a new smc PENTAX-DA 40mm F2.8 XS interchangeable lens. As the world’s thinnest interchangeable lens,* the new 40mm combines with the PENTAX K-01 camera body to deliver a unique ILC system that is perfect for photographers who are as keen on design as they are on performance. Together, the K-01 and 40mm lens system mark the intersection where high technology and high design meet.

Key features of the PENTAX K-01 include:
• Durable machined aluminum frame under a stylish black, white, or yellow exterior.
• PENTAX mirrorless body design is compatible with 25+ million PENTAX K-mount lenses spanning decades.
• Large 16 megapixel APS-C sized CMOS image sensor with low noise image capture and multiple aspect ratios.
• Bright, high resolution 3 inch LCD with 920,000 dots.
• Full HD 1080p video capture at 30 FPS with h.264 compression (60 FPS at 720p) features outstanding video capture flexibility.
• Sensor-shift PENTAX Shake and Dust Reduction system is compatible with every mounted PENTAX lens.
• Fast 6 FPS burst mode is ideal for fast-action photography.
• Flexible ISO range of 100-25600 ensures gorgeous noise-free imaging in any lighting condition.
• Focus peaking mode provides fast and accurate manual focusing for critical focus applications.
* The world’s thinnest interchangeable lens for lens-interchangeable digital SLR cameras, as of February 1, 2012 (based on PENTAX’s research)

The K-01 will be available in yellow, black and white in March 2012.

Additional information is available here: www.pentaximaging.com/news and a video interview with Mark Newson regarding the K-01design may be viewed here: www.youtube.com/pentaxian1 Images of other Marc Newson creations are available here.

PENTAX is a leader in the production of a variety of adventure ready digital cameras including weather-resistant digital SLRs and stylish, compact, waterproof cameras, as well as lenses, flash units, binoculars, scopes, and eyepieces. For more than 90 years, PENTAX has developed durable, reliable products that meet the needs of adventurous consumers and businesses. With new headquarters in Denver, Colorado, PENTAX RICOH IMAGING AMERICAS CORPORATION is a subsidiary of PENTAX RICOH IMAGING COMPANY, LTD. effective October 1, 2011. Additional details may be found here: www.pentaximaging.com/news

Leica Oskar Barnack Award - Call for Entries

2012-02-02T19:55:00.000+02:00

February 2, 2012 /Photography News/ An international jury awards the Leica Oskar Barnack Award / Leica Oskar Barnack Newcomer Award to photographers whose unerring powers of observation capture and express the relationship between man and the environment in the most graphic form in a sequence of a minimum of 10 up to a maximum of 12 images. Entry submissions must be a self-contained series of images in which the photographer perceives and documents the interaction between man and the environment with acute vision and contemporary visual style – creative, groundbreaking and unintrusive.

Eligibility: Entries for Leica Oskar Barnack Award are open to all professional photographers. Entries for the Leica Oskar Barnack NEWCOMER Award are open to all (prospective) photographers aged 25 years and under. Only one entry per photographer is accepted.

Prizes: The winner of the “Leica Oskar Barnack Award” receives a Leica M9-P camera and a lens worth 10.000 Euros in addition to a cash prize of 5,000 Euros.

The jury:

The international jury of the Leica Oskar Barnack Award / Newcomer Award 2012 is represented by:

Bruce Gilden, Photographer, MAGNUM Photos, USA

Stephan Erfurt, Director, C/O Berlin, Germany

Valérie Fougeirol, Creative Director, Magnum Gallery Paris, France

Karin Rehn-Kaufmann, Director Leica Gallery Salzburg, Austria

Brigitte Schaller, Art Director, LFI Magazine, Germany

Deadline: March 1, 2012

Website: http://www.leica-oskar-barnack-award.com/en/

Hasselblad Launches State-of-the-art Online Video Platform

2012-02-02T19:34:00.000+02:00

February 2, 2012 /Photography News/ Hasselblad is set to launch Hasselblad tv – an exclusive new multi-language online video platform that will ‘target and engage’ the company’s global audience of professional and aspirational photographers.

After two years of planning HTV will launch on February 2 offering viewers a range of channel options, including education and training videos, product information, global news and events plus peer videos submitted by Hasselblad photographers worldwide.

Chris Russell-Fish, Hasselblad's Global Sales and Marketing Director said: "This is a very exciting project for us, our customers and trade partners like broncolor, Epson and SanDisk".

"We are working with award-winning digital specialists Skylab to produce a comprehensive standalone platform - primarily an education and research tool of 'all things Hasselblad'. It will be easy to use but with all the appropriate functionality, including options to download PDF information photographers may find useful after browsing a particular video."

He added: "We all know there are countless thousands of videos available on YouTube but we wanted to create one single place where Hasselblad enthusiasts can go to access fundamental training on our camera systems; how to attach a back, for example, or tips and tricks on software techniques. We have emulated the excellent BBC iPlayer model but we also wanted to provide our service across a number of languages, including French, German, Italian, Spanish and Chinese. So an Italian architectural photographer will be able to simply access our Italian channel and watch a playlist of videos in that genre, in his or her native language."

Hasselblad is now looking for photographers to submit videos of interesting shoots, stories and events. Of course Hasselblad will retain the right to edit material but there will be no overarching censorship criteria - other than the obvious and universal constraints of common decency. These videos are frequently between three and seven minutes long but if photographers submit material that is of particular interest but longer, then Hasselblad would still provide the space.

Added Russell-Fish: "This initiative is very much a work in progress and it's a 'call to action' to photographers worldwide. We want everyone, from students to leading professionals - from those who rent Hasselblad cameras and those who own them - to submit their videos."

Launch channels will include Hasselblad: products, company history, news and events; education and training - cameras, software, and innovation. Hasselblad Masters' videos encompassing various photo-genres including architectural, editorial, fashion/beauty; fine art, landscape/nature; portrait/social and wildlife. Hasselblad is setting up initial bespoke channels for France, Germany, Italy, Spain, UK, USA & Canada, Asia Pacific and Europe - with more global channels to follow.

There will also be a Hasselblad Studio and a VICTOR Magazine/Bulletin channel.

Hasselblad tv is easily accessible on PC or Mac computers and on iPhones and iPads. Please check out htv.hasselblad.com

New Nikon COOLPIX Cameras

2012-02-01T11:08:00.000+02:00

February 1, 2012 /Photography News/

Digital Compact Camera Nikon COOLPIX S9300/S9200/S6300/S4200/S3200/S30

Nikon COOLPIX S9300

The S9300 and S9200 are high-power zoom models equipped with 18x optical zoom NIKKOR lenses utilizing thin optics, and offering improvements to specifications available with the popular COOLPIX S9100 released in the spring of 2011. The backside illumination CMOS image sensor and lens-shift vibration reduction (VR) system built into these cameras enable capture of beautiful photos of even dimly lit or dark scenes. The S9200 is a basic model while the S9300 also offers a built-in GPS function. A new movie function for saving and playing back movies, which allows for recording of multiple scenes that are then saved as a single file, has been adopted.

The S6300 is a new model for the popular high-power, compact zoom model class. It offers one of the most compact bodies in its class despite the built-in 10x optical zoom NIKKOR lens. It also offers an effective pixel count of 16.0-million pixels and is equipped with a lens-shift vibration reduction (VR) function that makes the most of superior camera shake compensation precision. The S6300 offers superior image quality for both still images and movies recorded with its full-HD compatible movie function, as well as excellent balance between still image and movie recording functions.

The S4200 and S3200 are slim and stylish models that are slimmer than their predecessors despite improved zoom function and built-in VR.

Digital Compact Camera Nikon COOLPIX P310/P510

The P310 is the successor to the COOLPIX P300, which last year established a new branch of compact, wide-angle zoom cameras in the COOLPIX P series. It is equipped with a lens offering the same fast maximum aperture of f/1.8 that was so popular with the P300, and exhibits a number of advances, including even better image quality from its 16.1-million pixel image sensor and a lens-shift vibration reduction (VR) function for camera shake compensation equivalent to a four-step increase in shutter speed.

The P510 is a compact, high-power zoom camera with an even greater zoom ratio than its predecessor, the COOLPIX P500, which represented a landmark in the history of the COOLPIX series with the highest zoom ratio ever. This new model is equipped with an amazing 42x optical zoom lens that covers angles of view for a broad range of focal lengths, beginning at the wide-angle 24 mm to the telephoto 1000 mm*. The Q510 also offers the same lens-shift vibration reduction (VR) function for camera shake compensation equivalent to a four-step increase in shutter speed as the P310, and is also equipped with a new GPS function.

Both the P310 and P510 are also equipped with a backside illumination CMOS sensor with an effective pixel count of 16.1-million pixels for significantly less noise with shooting at high sensitivities. This results in the beautiful images with little noise that users expect, even with shooting in dimly lit surroundings. They also offer a noise reduction burst feature that utilizes automatic image overlay technology, which is applied with shooting in Night Portrait, Backlighting, and Night Landscape scene modes, to produce images with minimal noise.

The P310 and P510 are also equipped with a number of other shooting and editing functions, including COOLPIX Picture Control, which can be used to adjust the vividness of colors or degree of sharpening applied to images prior to shooting according to the type of subject or scene, shooting conditions, or intent. What's more, frequently used shooting menu items can easily be assigned to the new customizable function button, making the full-scale photographic capabilities demanded by users even more simple.

Digital Compact Camera Nikon COOLPIX L810/L26/L25

The L810 maintains a compact size despite its 26x high-power optical zoom lens. The L26 and L25 are entry-level models that offer 5x optical zoom and automatic shooting functions that make taking beautiful pictures simple.

Despite its compact size, the L810 is equipped with a CCD image sensor with an effective pixel count of 16.1-million pixels, a 26x optical zoom NIKKOR lens that covers angles of view from the wide-angle 22.5 to super telephoto 585 mm (equivalent in 35-mm [135] format), and a new lens-shift vibration reduction (VR) function. It offers the same form that supports a firm, steady grip and side zoom control that have made previous COOLPIX L-series models so popular for their high performance.

The L26, with its CCD image sensor with an effective pixel count of 16.1-million pixels, and the L25, successor to the COOLPIX L23 (released in February 2011), are equipped with a 5x optical zoom NIKKOR lens and a large and clear 3-inch TFT LCD monitor. In addition to Easy auto shooting mode for simple capture of photos exhibiting superior image quality, and an independent movie-record button that enables movie recording with the press of a button, both of these models are powered by AA batteries that can be purchased anywhere. These compact digital cameras are so easy to use that even first-time users will find taking beautiful pictures extremely simple.

For more information visit www.nikon.com

Osama Bin Laden Death Photos May Be Released to the Public

2012-02-01T10:42:00.000+02:00

February 1, 2012 /Photography News/ The activist group Judicial Watch has filed a lawsuit demanding the release of the death photos of Osama bin Laden, and a former Justice Department official thinks the government might have to release at least some of them.

Reportedly, the CIA has at least 52 gruesome photos as well as recordings of Osama bin Laden's death.

The ‘graphic’ images include ‘post-mortem images of UBL's body’, CIA National Clandestine Service director John Bennett wrote in September. ‘They depict the fatal bullet wound to UBL’s (Bin Laden's) head and other similarly gruesome images of his corpse,’ he added, reported ABC News.

The Central Intelligence Agency says releasing images of a dead Osama bin Laden “could trigger violence, attacks, or acts of revenge against the United States.”

Poll: Should Photos of Bin Laden's Body Be Released to the Public? Will They Convince the Skeptics?

Languages and Cultures through the Language of Photography Contest

2012-01-28T13:20:00.000+02:00

January 28, 2012 /Photography News/ Photography is essentially a form of communication which could be used as a communication media between people from diverse cultures and languages. On the other side, with the advancements of digital technologies, photography has already been democratized as one of the most accessible art forms.

The 21 February Photo Contest 2012 is an international photography contest observing the International Mother Language Day 2012. This photo contest is focused with the same goals, as obtained by the UNESCO for the International Mother Language Day, to promote the importance of linguistic, cultural diversity and multilingualism.

The main objective of this photo contest is to provide a platform where people around the world could share their views and support towards this essential cause through the language of photography. Finally, this photography contest is actually less about competition and more about inspiring mutual respect, understandings and cooperation.

Prizes:

The first, second, third and fourth prizewinners will be awarded gift cards of USD 500, SEK 1000, USD 100 and USD 75, respectively, at some online stores or in other forms. The details about the gift cards is to be appeared. The fifth prizewinner will be awarded a gift voucher of GBP 25 with free shipment at Jack the Hat Photographic.

Eligibility: Open worldwide. Both color and black & white photos are acceptable.

Deadline: 7th February 2012 23:59 GMT

Website: http://www.motherlanguageday.org/

2012 Photocrati Fund Competition

2012-01-28T13:08:00.000+02:00

January 28, 2012 /Photography News/ The Photocrati Fund offers $5000 grants to photographers to undertake important humanitarian and environmental photography projects. The organizers' goal is to identify outstanding photographers and to provide the resources necessary to pursue projects that will have a tangible and positive effect on the world.

The 2012 Photocrati Fund award will be announced at the Look3 Festival of the Photograph in Charlottesville, Virginia in June 2012. The grant winner will become a Photocrati Fellow for the calendar year from the announcement of his/her award until the announcement of the following year’s award.

Photocrati Fund Grants are in the amount of $5,000. The funds are intended to cover the costs of travel, lodging, and expenses for up to one-month of full time photography. If you are doing a project close to home, then the funds do not need to be spent on travel and lodging, but a case must be made for how they will be spent. Your project may also be longer than one month – just make a case for the appropriate duration for your project.

The funds will be disbursed in two portions. Photocrati Fellows will receive $4000 up-front prior to the project. The remaining $1000 will be disbursed to the Grantee upon completion of the project and upon receipt of a Project Report and an image portfolio from the project.

The Grantee is expected to provide a brief follow-up report upon completion of the project that describes how the project progressed, and which provides a detailed explanation of how funds were used. Along with the Project Report, the Fellow should submit a final Image Portfolio of 20-30 images.

Eligibility:

This grant is intended for both pro and emerging photographers. The grant is open to photographers over 21 years of age from any country worldwide, but applicants should have a proven ability to produce outstanding imagery and coherent photo essays, as well as the background necessary to carry out the proposed project. This means that for photographers planning to complete a project in a country other than their own country of origin, there should be a clear demonstration of preparation for work in that country (i.e. proper visas, contacts, language training, etc.).

Copyright and use of images:

The award winner retains all copyright and ownership of images resulting from the project, including the right to sell, print, or distribute images as he or she sees fit. By accepting the grant, the Grantee (the award winner) agrees, however, to give Photocrati a worldwide, non-exclusive right to display images included in the Grantee’s Photo Essay on the Photocrati.com website. The Grantee also gives Photocrati the right to use the resulting imagery on its website, in printed materials, or in galleries for the purpose of promoting the Photocrati Fund.

Deadline: April 1, 2012

For submission guidelines visit http://www.photocrati.com/photocrati-fund/

There are no application fees for this grant.

In Photos: Remembering Jazz Photographer William P. Gottlieb

2012-01-28T12:52:00.000+02:00

January 28, 2012 /Photography News/ Born 95 years ago today, on 28 January 1917, William Paul Gottlieb was both a notable jazz journalist and a self-taught photographer who captured the personalities of jazz musicians and told their stories with his camera and typewriter. His images document the jazz scene in New York City and Washington, D.C., from 1938 to 1948, a time recognized by many as the "Golden Age of Jazz". Gottlieb's portraits depict such prominent musicians and personalities as Louis Armstrong, Duke Ellington, Billie Holiday, Thelonious Monk, Ella Fitzgerald, and many more.

Gottlieb died of complications from a stroke on April 23, 2006.

In line with Gottlieb's wishes, his photographs were put into the public domain in 2010.

Portrait of Louis Armstrong, Aquarium, New York, N.Y., ca. July 1946. William P. Gottlieb Collection (Library of Congress).

Portrait of Thelonious Monk, Minton's Playhouse, New York, N.Y., ca. Sept. 1947. William P. Gottlieb Collection (Library of Congress)

Portrait of Cab Calloway, Columbia studio, New York, N.Y., ca. Mar. 1947. William P. Gottlieb Collection (Library of Congress)

Portrait of Joan Brooks and Duke Niles, New York, N.Y., ca. Apr. 1947.

Caption from Down Beat: Songpluggers get in your hair everyday, but this is the first time contact-man Duke Niles ever combed a hip wench like Joan Brooks out of this tresses. Sitiash arose when la Brooks recorded Take Your Shoes Off, Baby and Start Runnin' through My Mind and Tonight You Belong To Me for Diamond as her first wax release since her CBS sustaining days. Beat disc-digger Mix reports; "Wonderfully warm quality . . . good beat . . .fine salesmanship of the Gene Austin tune neglected since the Artie Shaw-Lips Page waxing." William P. Gottlieb Collection (Library of Congress). In: "Took 'em off," Down Beat, v. 14, no. 9 (Apr. 23, 1947), p. 3.

Portrait of Sonny Greer, Aquarium, New York, N.Y., ca. Nov. 1946. William P. Gottlieb Collection (Library of Congress).

Portrait of Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt (Milton) Jackson, and Timmie Rosenkrantz, Downbeat, New York, N.Y., ca. Sept. 1947.
Caption from Down Beat: An impressive photo of a truly impressive singer Ella Fitzgerald at the Downbeat, with Dizzy Gillespie making like a faun in the background. Dizzy has gone on his own way, while Ella is still keeping the club on the beat. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Ella keeps it on the beat," Down Beat, v. 14, no. 20 (Sept. 24, 1947), p. 5.

Portrait of Larry Adler and Paul Draper, City Center, New York, N.Y., ca. Jan. 1947. William P. Gottlieb Collection (Library of Congress).

Portrait of Duke Ellington, Paramount Theater, New York, N.Y., ca. Sept. 1946.

Caption from Down Beat: Fifth in the series of staff lensman Bill Gottlieb's intimate dressing room shots of musical celebrities is Duke Ellington, with the mirror reflecting his always present piano, his conservative ties, his 20 suits, his 15 shirts, his suede shoes and his smiling self. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Through the looking glass," Down Beat, v. 13, no. 20 (Sept. 23, 1946), p. 16.

Portrait of Dardanelle, Washington, D.C., between 1938 and 1948. William P. Gottlieb Collection (Library of Congress).

Portrait of Cab Calloway, New York, N.Y.(?), ca. Jan. 1947. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "The carnation kid," Down Beat, v. 16, no. 2 (Jan. 15, 1947), p. 16.

Portrait of Sidney Bechet, Freddie Moore, and Lloyd Phillips, Jimmy Ryan's (Club), New York, N.Y., ca. June 1947. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: The Record Changer, v. 6, no. 4 (June 47, 1947), p. 9.

Portrait of Ralph Burns, Edwin A. Finckel, George Handy, Neal Hefti, Johnny Richards, and Eddie Sauter, Museum of Modern Art, New York, N.Y., ca. Mar. 1947.

Caption from Down Beat: Taking six arrangers of the modern school to the Museum of Art to pose with pieces by Picasso and Henry Moore seemed like a great idea to staff lensman Bill Gottlieb. Ralph Burns, Eddie Finckel, George Handy, Neal Hefti, Johnny Richards, and Eddie Sauter obliged, then the trouble started. For details, read the story by Gottlieb on page 2. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Arrangers on the cover," Down Beat, v. 14, no. 7 (Mar. 26, 1947).

Portrait of Dardanelle and Joe Sinacore, Hickory House, New York, N.Y., ca. July 1947.

Caption from Down Beat: A hot summer season is promised for New Yorkers, especially those around 52nd Street. Remember the report from the front last January that "Jazz Blows Final Breath?" Eddie Heywood, recently at the Downbeat club, is in the first picture. Coleman Hawkins, working at the Three Deuces, is shown in the second. Dardanelle, vibe star and leader of her own unit, can be seen at piano, framed by bass and guitar. The last show shows tenorist Bud Freeman at Jimmy Ryan's. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "More who manage to keep New York's swing lane lively," Down Beat, v. 14, no. 16 (July 30, 1947), p. 3.

Portrait of Ella Fitzgerald, New York, N.Y., ca. Nov. 1946. William P. Gottlieb Collection (Library of Congress).

Portrait of Billie Holiday, Downbeat, New York, N.Y., ca. Feb. 1947. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: The Record Changer, v. 5, no. 12 (Feb. 47, 1947), p. 7.

Portrait of Jerry Jerome, ca. June 1947. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Jerome's versatility keeps him busy," Down Beat, v. 14, no. 12 (June 4, 1947), p. 16.

Portrait of Shelly Manne, New York, N.Y.(?), ca. June 1947. Caption from Down Beat: Clowning in an oriental fashion for staff lensman Bill Gottlieb's camera on the cover of this issue is Stan Kenton's drummer boy, Shelly Manne. While his boss is recuperating on the west coast, Shelly, with another Kenton musician, Kai Winding, is playing in Charlie Ventura's combo at the Continental club in Milwaukee. Buddy Stewart is doing the vocals. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Shelly Manne on the cover," Down Beat, v. 14, no. 12 (June 4, 1947).

Portrait of Willie Smith in his apartment, Manhattan, New York, N.Y., ca. Jan. 1947. William P. Gottlieb Collection (Library of Congress).

Portrait of Ray Anthony, New York, N.Y., ca. Aug. 1947. William P. Gottlieb Collection (Library of Congress).

Portrait of Charlie Barnet and Re-Bop, New York, N.Y., ca. Aug. 1946.

Caption from Down Beat: Charlie Barnet's pet monkey, Re-Bop, pretends that he doesn't find much harmony in the sax tootlings of his maestro on the cover of this issue. But it's all in fun, and the grimaces of the monkey are not the reason that Charlie is breaking up his dance band early this month. He's going out to California to rest for the remainder of the summer, probably will re-organize on the west coast this fall. Forms part of: William P. Gottlieb Collection (Library of Congress).
In: "Charlie, Re-Bop on the cover," Down Beat, v. 13, no. 17 (Aug. 12, 1946).

Portrait of Sidney Bechet, Jimmy Ryan's (Club), New York, N.Y., ca. June 1947. William P. Gottlieb Collection (Library of Congress).

Portrait of Stan Kenton and Bob Gioga, 1947 or 1948. William P. Gottlieb Collection (Library of Congress).

Courtesy of the Library of Congress

In Photos: Post-1870 Sidney Exposed

2012-01-25T19:40:00.000+02:00

January 25, 2012 /Photography News/ Celebrated annually on 26 January, Australia Day (previously known as Anniversary Day, Foundation Day, and ANA Day) commemorates the arrival of the First Fleet at Sydney Cove in 1788 and the proclamation at that time of British sovereignty over the eastern seaboard of New Holland.

The collection below is a photographic record of the people, places and events of Sydney after 1870, highlighting the history and changing nature of Sydney, Australia's first and largest metropolis.

Courtesy of the State Library of New South Wales

[Weatherboard buildings, Market Street, at the corner of Clarence Street, Sydney], [Dec 1875] / by unknown photographer. Notes: This photograph accompanied a scathing Government report into the city’s sewerage system. Of these dwellings, it said, ‘Any one who may be curious to know how long Colonial timber will last, until, by the combined action of the elements, white ants, and other sources of destruction, it becomes triturated into powder, can satisfy their curiosity by ascertaining the date on which these houses were constructed. The corner house is occupied and used as a butcher's shop; it is a filthy stinking place...’

The Gap, Sydney, 188- / photographer unknown. Note: Sydney's most notorious suicide spot, the cliff in front of the buildings, right. On 20 September 1857, the Dunbar was trying to enter Sydney Heads at night in a blinding storm and was smashed on the rocks, lower right. Only one survivor was found the next day. The Dunbar was less than a mile from safety after her more than 10,000 mile journey from Britain. Children still marvel to the story as they view the anchor now on display on the clifftop walk.

Advertising hoarding for McLean, Rigg from Sydney, ca. 1885-1890 / photographed by Arthur K. Syer.

King and Elizabeth Street corner from Sydney, 1890 / photographed by Arthur K. Syer.

Arrival of Governor Sir Robert Duff, Circular Quay, Sydney, June 1893 / photographer unknown. Note: the sailing ship called the "Convict Hulk Success", a commercial exhibit, upper right, and the bald-faced building with two towers which is a fire station, upper left.

Horsedrawn ambulance outside Civil Ambulance & Transport Brigade headquarters, corner of George & Pitt Sts opposite the Benevolent Asylum, now Central Square, c. 1900, by unknown photographer.

[Pedestrians on George St], ca. 1900, from Frederick Danvers Power : photonegatives, 1898-1926 / Frederick Danvers. Power Notes: Amateur photographer Frederick Danvers Power had a concealed detective camera, which he used to snap these women crossing Martin Place at George Street, with the Post Office behind them. This image gives us a more accurate idea of what women actually wore, than formal studio photographs or magazine illustrations. People wore their best outfit to the portrait studio and parasols and hats, which shaded the face, were not permitted. On the other hand, the idealised renditions of fashion published in magazines show neither creased clothes nor worn shoes.

Society of Artists' Selection Committee, Sydney, 1907 / photographer Henry King. (l to r) Julian Ashton, Mrs Norman Lindsay, Harry Weston, Will Dyson, Norman Lindsay, young Souter, Sidney Long & D.H. Souter. Norman Lindsay is perhaps the best known of these young bohemian artists having a picnic in their rooms. He is looking pensive, fifth from the left.

Sydney markets, by Rex Hazlewood, c. 1911-1916.

New gas-masks for the NSW Fire Brigade, Castlereagh Street headquarters, Sydney, 1927 / Sam Hood. Firemen display their latest gasmask at the Fire Brigade's Castlereagh Street headquarters, where popular demonstrations for the public were given on Wednesday afternoons.

Twenty four pigs being driven along Day Street, Sydney, by a truck, ca. 1929 / Sam Hood. Notes: As odd as it may seem today, Sydney regularly had livestock in its streets. However, this example of a truck driving a herd of pigs along the Day Street waterfront towards Market Street is an anachronism, as the area for penning animals had become the City Council depot and the city livestock markets had moved 20km out of the city to Homebush.

View from pulley-wheels of north side creeper-crane (jibbed right out) looking into box section of south side arch, Sydney Harbour Bridge, May 1930 / Ted Hood (hanging upside down 130 metres - 420 feet - above the Harbour)

[Artillery fire the salute at the opening of the Harbour Bridge], 19 March 1932, by Sam Hood

Views in Sydney and New South Wales, 1930-40 / by Charles F. Walton. Notes: No title, thought to have been taken 1935 between Kent and High Streets, Sydney.

Tram and taxi smash in Pitt Street, 25/6/1937 / Sam Hood. Notes: Trams and their operation were blamed for many accidents in Sydney’s narrow streets. In this case, traffic in Pitt Street was held up when a taxi pulled out from the curb and was struck by one of Sydney’s notorious ‘toast rack’ trams. Pedestrians have added to the confusion, creating a bottleneck. In 1921 regulations were passed which required motorists to signal their intention to stop or turn, but hand signals were not always given or seen.

Roberto Cimetta Fund - Open Call For Travel Grants

2012-01-16T20:01:00.000+02:00

January 16, 2012 /Photography News/ The Roberto Cimetta Fund has launched an open call for travel grants from 1st to 31st January 2012 in the framework of two partnerships with Guimarães 2012 European Capital of Culture and with Marseille-Provence, European Capital of Culture 2013.

Eligibility:

The RCF/Guimarães 2012 fund is open to artists and cultural operators in all artistic disciplines from the Euro-Mediterranean-Arab region[1] whose travel project will take place between Guimarães and the Euro-Mediterranean-Arab region and/or in relation to a project linked to Guimarães 2012. Priority will be given to projects in music, performing arts, cinema, visual arts, design and architecture, preferably in the framework of a residency.

[1] contemporary performing arts (theatre, dance, circus/street/puppet art) music, visual arts, digital arts, photography, film, new writing, playwriting, storytelling, poetry, trans-disciplinary projects.

The RCF/Marseille-Provence 2013 fund is open to artists and cultural operators from the Euro-Mediterranean-Arab region whose travel project will take place from a country of the South and East coasts of the Mediterranean to another country of that same zone or from a country of the South and East coasts of the Mediterranean to Europe, preferably other than France. Only in exceptional cases will mobility from a European country to a country of the South or East coasts be considered; the same applies for mobility linked to countries of the Arabian Gulf. The aim of the trip needs to be linked to the Marseille Provence 2013 project and/or the area of Marseille Provence 2013 (which extends from Arles to La Ciotat through the Pays d’Aix).

South Zone: Morocco, Algeria, Tunisia, Libya, Egypt, Mauritania, Jordan, Syria, Israel, Palestine, Lebanon, Turkey, and the countries of the Arabian gulf, Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, United Arab Emirates Yemen

East Zone: Macedonia, Albania, Bosnia and Herzegovina, Montenegro, Kosovo, Serbia, Croatia, Slovenia, Bulgaria, Romania, Czech Republic, Slovakia, Hungary, Poland, Armenia, Moldavia.

North Zone: Northern Europe: Germany, Austria, Belgium, Denmark, Estonia, Finland, France, Ireland, Latvia, Lithuania, Luxembourg, The Netherlands, United Kingdom and Sweden, Iceland, Liechtenstein, Norway. South of Europe: Cyprus, Spain, Greece, Italy, Malta, and Portugal

Candidates must also respect the general criteria of RCF which apply to these specific funding lines:

1) The aim of your trip must directly or indirectly show potential for a constructive and long-term impact on the arts sector in the Mediterranean basin. This means that your travel must contribute to your own capacity building, which in turn can be shared in a “networking” fashion that will benefit connecting artists and operators in your own country or region so as to maintain, renew and develop contemporary arts.

2) New criteria: Your trip can take place as soon as the call opens but in this case you run the risk of buying your ticket without knowing if the application is successful or not.

3) Applicant’s profile:

- No nationality or age criteria. Applicant lives or works in the Euro-Mediterranean-Arab region.

- Profession: performers, creators, teachers, cultural organisers, administrators, project leaders.

- Financial means: applicants who are unable to find the financial resources themselves.

4) Applications must be made on an individual basis by email to grant@cimettafund.org. Only 3 members of a group can apply for a grant concerning the same project. A grant holder can only reapply twice. Applicants must choose the cheapest form of transport and can only apply for one international return travel ticket and visa costs (local transport is not reimbursed).

Deadline: January 31, 2012. The date of the next selection is 1st April 2012.

Website: www.cimettafund.org

In Photos: Remembering Photographer Frances Benjamin Johnston

2012-01-15T18:26:00.001+02:00

January 15, 2012 /Photography News/ Born 148 years ago, on 15 January 1864, Frances Benjamin Johnston was one of the earliest American female photographers and photojournalists.

She received her first camera from George Eastman - the inventor of the Eastman Kodak cameras - and was trained by Thomas William Smillie, the director of photography at the Smithsonian Institute.

Johnston began her professional life as an artist-reporter. Sensing a changing trend in journalistic illustration while working as the Washington correspondent for a New York newspaper, she turned to photography.

She made her name as a photographer in the 1890s, taking portraits of the political elite in Washington, D.C. - she was the official White House photographer during the Harrison, Cleveland, McKinley, Roosvelt, and Taft administrations.

The Ladies Home Journal published in 1897 Johnston's article What a Woman Can Do With a Camera, urging women to consider photography as a means of supporting themselves. She co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC.

Johnston photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan American Exposition of 1901 just before his assassination.

In 1904 Johnston joined the Photo-Secession.

In the 1920s she became increasingly interested in photographing architecture, being one of the first contributors to the Pictorial Archives of Early American Architecture. Her photographs remain an important resource for modern architects, historians and conservationists.

She was a juror for the second Philadelphia Salon of Photography, received four consecutive Carnegie Foundation grants to document historic gardens and architecture of the South, and was made an honorary member of the American Institute of Architects in 1945.

Johnston continued to photograph until her death in May 1952 at age eighty-eight.

Frances Benjamin Johnston, full-length self-portrait dressed as a man with false moustache, posed with penny-farthing bicycle, facing left. Between 1880 and 1900.

Alice Roosevelt Longworth's wedding gown, 1906.

A picture of Isadora Duncan's student's, including Isadorable dancers. Caption card tracings: BI; Dance--Modern; Shelf. Duncan, Isadora, 1878-1927. Frances Benjamin Johnston Collection, Library of Congress.

Frances Benjamin Johnston, full-length [self-]portrait, seated in front of fireplace, facing left, holding cigarette in one hand and a beer stein in the other, in her Washington, D.C. studio, 1896.

Frances Benjamin Johnston (right) poses with two cross-dressing friends, the "lady" is identified by Johnston as the illustrator Mills Thompson, 1890.

"Salon jury, Philadelphia," photographic print, by the American photographer and photojournalist Frances Benjamin Johnston, dated 1899. The portrait shows photographic salon jury members in profile, including, from left, Clarence H. White, Gertrude Käsebier, Henry Troth, F. Holland Day, and Frances Benjamin Johnston. This image forms part of the Frances Benjamin Johnston Collection at the Library of Congress.

Quentin Roosevelt, 1902.

Stairway of the Treasurer's Residence, 1899.

Two girls from a Washington, D.C., school on a class visit to the Library of Congress, looking at an exhibit of relief or wood engravings, one with her chin on shoulder of the other, 1899.

Archie Roosevelt with his pony, Algonquin on the White House Lawn, 1902. US Library of Congress.

A Kodak creates a sensation," photographic print by the American photographer and photojournalist Frances Benjamin Johnston, image from 1890-1910. The photograph forms part of the Frances Benjamin Johnston Collection at the Library of Congress, Prints and Photographs Division, Washington, D.C.

2012 Persephone Miel Fellowship Call for Proposals

2012-01-13T09:45:00.001+02:00

January 13, 2012 /Photography News/ The Persephone Miel Fellowship, overseen by the Pulitzer Center in collaboration with Internews, is designed to help media professionals outside of the United States do the kind of reporting they've always wanted to do, and enable them to bring their work to a broader international audience. The fellowship will benefit those with limited access to other fellowships or international distribution of their work.

Grant:

The Pulitzer Center on Crisis Reporting will provide a travel grant of $7500 for a reporting project on topics and regions of global importance, with an emphasis on issues that have gone unreported or under-reported in the mainstream American media. Payment of first half of the grant is disbursed prior to travel, upon receipt of required materials, and the second half on submission of principal work for publication/broadcast. The Center will also work with the fellowship recipients to distribute the work across multiple platforms in the US to reach the widest possible audience. Projects with multi-media components that combine print/photography and video are strongly encouraged.

Eligibility:

The Persephone Miel fellowships are open to all journalists, writers, photographers, radio producers or filmmakers; staff journalists as well as free-lancers and media professionals outside the US, who are seeking to report from their home country. Women are strongly encouraged to apply. Applicants must be proficient in English.

Deadline: February 15, 2012

Website: Persephone Miel Fellowship

Remembering John Dillwyn Llewelyn: Early Swansea Photography

2012-01-12T08:48:00.000+02:00

January 12, 2012 /Photography News/ In the middle of the 19th century a group of people in Swansea, Wales, became captivated by a new invention - photography. Between 1841 and 1856, John Dillwyn Llewelyn (1810-1882), of Penlle’r-gaer, his family, and many of their acquaintances experimented with, and even developed, exciting new photographic processes. They compiled the world's first family albums with photographs of their friends and relations that reveal the warmth and delight of life within the walls of the great landed estates of Victorian Wales.

John Dillwyn Llewelyn, was born 202 years ago today, on January 12, 1810.

The National Library of Wales has five albums of photographs from the Dillwyn Llewelyn family, as well as a number of single images. The albums combine informal family portraits with landscapes, still life studies and architectural studies. These albums contain prints prepared from calotypes and wet collodion negatives.

The relaxed nature of those family members and friends depicted in these early photographs is in stark contrast to the formal studio portraits of the time. It is their ease in front of the camera that betrays the familiarity with which the Dillwyn Llewelyn family and acquaintances felt for photography. It was not for another fifty years that the world at large would share this ease in front of the camera.

More images and further information can be found on the National Library of Wales' website.

Courtesy of the National Library of Wales.

Elinor Amy Dillwyn Llewelyn. Other title : 'Elinor 1853'. Photographer: John Dillwyn Llewelyn. Date: 1853. Medium: Print taken from a collodion negative.

The Llewelyn Children. Photographer: John Dillwyn Llewelyn. Note: Other titles: ‘Palmistry’ also ‘The Brewis Kettle’ and ‘Gipsies’. Figures l to r: John Talbot (Johnny) Dillwyn Llewelyn, Willy (in tent), Emma Charlotte DL seated on basket, Caroline Traherne (standing). Date: Probably September 6th, 1856. Medium: Print possibly taken from an oxymel negative.

Lion Cubs. Photographer: John Dillwyn Llewelyn. Other title : ‘Lion Cubs three weeks old at Clifton Zoological Gardens’. Date: 16 March 1854. Medium: Print taken from a collodion negative.

Our schoolchildren. Photographer: John Dillwyn Llewelyn. Note: Posed by Mr Hammerton, art master. Date: July 22 1856. Medium: Print taken from a collodion negative.


Emma Llewelyn, wife of J. D. Llewelyn. Photographer: John Dillwyn Llewelyn. Note: Emma Dillwyn Llewelyn making a photographic print. Date: 1853. Medium: Print taken from a collodion negative.